Innocence In William Golding's Lord Of The Flies

The encounter with the Lord of the Flies supports Simon’s thoughts that the beast that the boys are hunting for is not an actual animal. The Lord of the Flies tries to persuade Simon to let go of his rational thoughts and be taken over by his primal instincts in order to have fun like the other boys. However, when Simon’s silence declares that he refuses to let go of logic and rationality, the Lord of the Flies realizes that Simon knows what the beast really is—the innermost part of the boys. Simon seems to make this connection that the Lord of the Flies is representational to the inner beast within the boys almost instantly. “His gaze was held by that ancient, inescapable recognition”(Golding 139). Simon instantly The Lord of the Flies quickly makes the connection, too. “You knew, didn’t you? I’m part of you? Close, close, close! I’m the reason why it’s no go? Why things are what they are?” (Golding, 1 ). The Lord of the Flies is symbolic to all the evil that is in humans. As Simon realizes that he was right about the beast, he tries to go back to the other boys to warn them about his discovery, but the Lord of the Flies gets angry. “This is ridiculous. You know perfectly well you’ll only meet me down there—so don’t try to

The Lord of the Flies by William Golding is an allegory that explores the instinctual evil humans possess and how this evil manifests into our societies. The book demonstrates this through young boys who are stranded on an island due to a plane crash. Despite their best efforts, the lack of adult guidance inhibits the boys from maintaining an orderly society. The boys turn to their survival instincts, many of which are evil. The lack of order exposes the internal savagery within the boys, resulting in an understanding of the flaws within all humanity. The Lord of the Flies uses the innocence of young boys to show the societal impact of human errors through their lack of adult supervision, the desire to inflict violence, and the need for authority over others.

Mankind is, by nature, an evil, vile, and savage species. This is nowhere more apparent than in William Golding’s Lord of the Flies, a novel detailing the adventures of a group of shipwrecked British schoolboys, who must survive on an uncharted Pacific island, while seeking rescue and order. Golding’s exploration of Man’s inherent wickedness is no more apparent in Chapter Nine, “A View to a Death”, in which the group of boys, in a riotous ceremony, brutally murder one of their own. The many events of the book lead to one conclusion: In Lord of the Flies, William Golding propagates the idea that Mankind is inherently inclined towards savagery and evil, which is conveyed via symbolism, juxtaposition, and foreshadowing.

Human’s innate behavior after the constraints and expectations of society disappear is the recurring theme centering the characters. William Golding’s Lord of the Flies uses the righteous Simon to highlight Jack and his evil role throughout the novel of savagery and civilization. The foil characters in Lord of the Flies exhibit the contrasting ideals and characteristics, the dissimilar symbolism of both characters, and the circumstances which lead both characters to follow one’s natural tendencies. To emphasize the message of Lord of the Flies, two young innocent boys will gradually begin to show their individualism.

     When a group of children become stranded on a deserted island, the rules of society no longer apply to them. Without the supervision of their parents or of the law, the primitive nature of the boys surfaces. Consequently, the boys live without luxury that could have been obtained had they maintained a society on the island. Instead, these young boys take advantage of their freedom, and life as they knew it deteriorates. Lord of the Flies is influenced by the author's life and experiences. Golding's outlook on life changes, due to his heavy involvement in W.W.II, to his current philosophy that "The shape of society must depend on the ethical nature of the individual, and not on any political system

In the story “Lord of the Flies” by William Golding, he shows how the boys lost all innocence and civilization. The boys went from having innocent child minds to taking lives of other people, acting savage, and losing all civilization due to problems on the island. The boys had forgotten where they came from and became savage in order to survive; it was the need of survival that caused the loss of innocence among the boys.

It may have taken millions of years for humans to evolve enough to create the sprawling civilizations known today, but it only takes a few months for a group of civil, educated boys to regress back into savagery. In his novel Lord of the Flies, author William Golding depicts a group of young British boys getting stranded on a deserted island sans adults. The boys must look out for themselves, forming a basic governing system and trying to survive. But the challenge soon proves too much to handle, and order deteriorates. William Golding conveys the universal theme of civilization vs. savagery in his novel Lord of the Flies using the literary elements of plot, setting, and characterization.

Simon is attempting to spread his revelation, but failed to and was instead brutally attacked by his own friends. However, Golding chooses to make Simon try to spread that realization instead of making Simon crying out to stop hitting him. Instead of yelling to stop, Simon tries to spread his message just like Jesus Christ wanted to before his crucifixion. Golding uses this action to draw that specific parallel. Finally, when Simon’s body is taken by the sea, the sea “dressed Simon’s coarse hair with brightness. The line of his cheek silvered and the turn of his shoulder became sculptured marble. The strange attendant creatures … busied themselves around his head. The body lifted a fraction of an inch from the sand and a bubble of air escaped from the mouth with a wet plop “ (154). Simon’s body seems to undergo a change as if he is becoming god-like or experiencing a rebirth after his death. The creatures, a representation of angels, are gathering Simon’s soul to take him to heaven. This is very similar to how Jesus Christ, the prophet who had a revelation that could not be spread when attacked by his own people, experienced a rebirth and eventually ascended into heaven. This story is reflected when Simon himself experiences a similar life to Jesus and eventually welcomed by the sea, a parallel to God and heaven. All of this seems to say that Simon is a Christ-figure and further supports the fact that we are all sinners waiting to be saved by God and Jesus

Golding associates Simon with goodness and gives him an angelic demeanor, to the extent that even the environment Simon spends his last moments on land has a phosphorescent aura and pearls covered the rocks around him, much like how heaven is depicted in the Bible. Golding purposefully amplifies the religious facets of Simon's death, because the sins, or stains, “seep from [Simon's] broken body…”, as well as “the line of his cheek [silvers] and the turn of his shoulders [becomes] sculptured marble” (154). Simon, like the statue of Jesus, is in a way forming into a silver, tone-like figure, in order to somehow preserve the memory of his innocent suffering. His body lifts and opens as the sun shines upon him, and morphs into almost a duplicate of Jesus with his arms out in a cross-like position. Around his head many “strange attendant creatures” (154), or flies, busy themselves and form a sort of halo, much like a halo on the heads of angels. The tide is much calmer than it has been since the brutal killing of Simon, and the deep ocean imbibes him, as well as “somewhere over the darkened curve of the world the sun and moon [are] pulling, and the film of water on the earth planet [is] held, bulging slightly …

Golding uses many rhetorical strategies in his book. The way he describes everything in, the book how they happen and many other things in the book. There is a plane full of boys that crashed on an island. There is no, adult there. They become a group trying to get rescued but by the end of the book, they separate into two groups the savages and ralph's side.

For a moment or two, the forest and all the other dimly appreciated places echoed with the parody of laughter. ‘You knew, didn’t you? I’m part of you? Close, close, close! I’m the reason why it’s no go? Why things are what they are?’” (Golding, 1954, p. 143). One reason why this scene needs to be kept is it explains how Simon comes to realize that the Beast is not real and that it was just a dead parachutist. Another reason why this needs to stay in the novel is the section foreshadows what is to come for Simon. When the pig head says things, such as, “There isn’t anyone to help you,” it foreshadows that there is no one who can help Simon from getting killed. A third and final reason this part of the story needs to be kept is it demonstrates the main idea that the author had when writing this book of there is evil in everyone. The Lord of the Flies says to Simon, “You

Even though Golding had an enormous amount of symbols throughout his novel, Simon is the first to recognize the complication posed by the beast and the “Lord of the Flies” that is, that the monster on the island is not a real, physical beast, but rather a savagery that lurks within each and every human being. As a final point, the loss of social structure within civilization can lead to the demise of the boys on the island whether it's between Ralph vs Jack, the boys vs the island, or even Simon vs

In the novel, Lord of the Flies, William Golding is able to use his outstanding writing abilities utilizing metaphors, symbolism, and other literary devices to establish a hidden message throughout the novel. The hidden message that Golding builds on is that there is a natural evil inside every human being, which is suppressed in an organized society through laws, rules, and punishment. The young boys in the novel are on an island all by themselves. There is no punishment for their actions, therefore allowing that evil to come out of most of the boys. All humans have an innate evil within them and that evil is brought out when there is a lack of civilization and consequence as seen in Simon’s murder,

The painted savages in Chapter 12 who have hunted, tortured, and killed animals and human beings are a far cry from the guileless children swimming in the lagoon in Chapter 3. But Golding does not portray this loss of innocence as something that is done to the children; rather, it results naturally from their increasing openness to the innate evil and savagery that has always existed within them. Golding implies that civilization can mitigate but never wipe out the innate evil that exists within all human beings. The forest glade in which Simon sits in Chapter 3 symbolizes this loss of innocence. At first, it is a place of natural beauty and peace, but when Simon returns later in the novel, he discovers the bloody sow’s head impaled upon a stake in the middle of the clearing. The bloody offering to the beast has disrupted the paradise that existed before—a powerful symbol of innate human evil disrupting childhood innocence.

The boys project their irrational fears as a derivative of their immaturity, in an attempt to identify a realized external enemy. Literary critic Lawrence S. Friedman explains, “Too immature to account for the enemy within, the boys project their irrational fears onto the outside world. The first of these projections takes the shape of a snakelike “beastie,” the product of a small boy’s nightmare.” (233) The boys’ irrational fear of the unknown, one of a small boy’s nightmare, only serves to exemplify their immaturity in handling situations like this. It is a stepping stone to events to come, prophesied by Simon. In addition, the character of Simon alludes to the fact that there evil ‘beast’ can really be traced to their internalized innate evilness. Simon argues, “maybe there is a beast… What I mean is… maybe it’s only us.” (Golding 89) While all of the boys attempt to explain the phenomena of the ‘beast,’ Simon is the one who realizes that the boys themselves are the evil ‘beast’ they perceive. There is no external force, the ‘beast’ only serves to be a placeholder for the boys’ true primal nature. However, it is Simon’s death, at the hand of the boys themselves, that only serves to prove that evil truly exists in all of these boys. Friedman suggests, “The ritual murder of Simon is as ironic as it is inevitable. Ironically, he is killed as the beast before he can explain that the beast does not exist. His horrid death refutes is aborted revelation: the beast exists, all right, not where we thought to find it, but within ourselves.” (236) His death is truly the tipping point, a point of no return for the boys. After his killing, Simon’s philosophy of inner evil is realized. It is clear that his own philosophy is what ultimately leads to Simon’s death, as unfortunate as it may be. It is reflected of the group’s fear of the unknown, and their